Went to hear Gillian Weir last night at St Peter's RC Roath in Cardiff on the "The Sir Jullian Godge Memorial Organ" Built in 2006 by Orgelbau Spath of Rappsrswill, Switzerland, its a 3 manual Instrument what can I say "It was like a breath of fresh air" She was amazing!!

Heres what she played:

Toccata in F Major BWV 540

Three Sonatas for Organ Deomenica Scarlatti
C Major K255
D Major K287
D Major K288

On Saturday, whilst just about to nip into USC on Cardiff Highstreet, I was accosted by a member of the clergy asking if I was going to see Gillian Weir that evening. I said "Who's Gillian Weir?" He's looked at me as though I was the most ignorant feminist in the world. _________________There's more to life than Rutter

Thanks for posting the program- would love to have heard it. Huw Williams also played the Mozart 608 in a program you previously posted. How did the performances compare? It's
ghastly
difficult to play.

In another thread, I mentioned attending recitals by David Goode while he was in Melbourne and wrote "
David Goode included the Mozart and the Shostokovich from his Prom program in his Melbourne recitals. The Mozart F minor K608 was played without any 16 ft tone which was quite an interesting listening experience, (and how Mozart intended it?)
"
Rob, can you recall whether Dame Gillian or Huw used 16ft tone in their interpretations of this work?
Also would some of our learned organists from this Forum like to comment on whether 16 ft tone is correct or appropriate here?
Ta!
Lance

The Mozart F minor K608 was played without any 16 ft tone which was quite an interesting listening experience, (and how Mozart intended it?)

How Mozart "intended" it? Dubious proposition, considering that an organ -let alone a keyboard- was never part of Mozart's original conception. To me, it is simply a matter of what works best on the particular instrument.

Then there is also the question of "editions". Kalmus and Peters both publish versions of this music (also the K594) that differ radically in notation. The Peters edition is more contrapuntally filled out, and this tends to be the favoured version with concert organists. Looking at both, 16' tone is implied, and this is most definitely the case with current recordings. Hope this helps. Cheers!

How Mozart "intended" it? Dubious proposition, considering that an organ -let alone a keyboard- was never part of Mozart's original conception. To me, it is simply a matter of what works best on the particular instrument

I was of the opinion that Mozart wrote this music for a mechanical clock or Flötenuhr (literally a flute clock or if you like, an organ in a clock). The one Haydn wrote his 32 miniatures for contained a 4' gedackt. Mozart may have had a larger "instrument" in mind, but I would doubt it would extend to 16' pitch. Apparently Mozart in a letter to his wife was frustrated by the limitations of the "
high pitched, childish sounds
" and wished for a much larger clock sounding more like a proper organ. Perhaps as you explained, the Peters edition of the music being the more contrapuntally filled out and favoured by concert organists, suggests the tonal range and sound Mozart desired!
Thanks for your help, Jason